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Mabel Cheung Yuen. Ting's MABEL CHEUNG YUEN. TING'S Stacilee Ford 香港式學出版社 HONG KONG UNIVERSITY PRESS Hong Kong University Press 14jF Hing Wai Centre 7 Tin"\月van Praya Road Aberdeen Hong Kong @ Hong Kong Uni廿司ve叮r討句穹T Press 2008 ISBN 978-962-209-894-刁7 AlI rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. Secure on-line Ordering http://www.hkupress.org Printed and bound by Liang Yu Printing Fty. Ltd., Hong Kong, China Hong Kong University Press is honoured that Xu Bing, whose art explores the complex themes of language across cultures, has wriUen the Press's name in his Square 叭Tord Calligraphy. This signals our commitment to cross-cultural thinking and the distinctive nature of our English-Ianguage books published in China. “At first glance, Square "\而Tord Calligraphy appears to be nothing more unusual than Chinese characters, but in fact it is a new way of rendering English words in the format of a square so they resemble Chinese characters. Chinese viewers expect to be able to read Square W ord Calligraphy but cannot. Western viewers, however are surprised to find they can read it. Delight erupts when meaning is unexpectedly revealed." - BriUa Erickson, The Art ofXu Bing Contents Series Preface vii Preface to An Autumn 台 Tak xi Acknowledgements xv I Introduction: Mabel Cheung Yuen-ting and the 1 Women of the Second Wave 2 AnAutumn 云 Tale as Transnational American Studies 11 3 Plot Summaη ofAnAutumn 台 Tak 17 4 AnAutumn 台 Ta胎" Assimilation, and the American 21 Dream CONTENTS 5 A Tale of Two Cities: New York in An Autumn 台 Tale 47 6 Reconfiguring Gender in Diaspora 67 7 Conclusion 85 Appendix: Interview with Mabel Cheung Yuen-ting and 87 Alex Law Notes 103 Credits 113 Filmographies 115 Bibliography 121 Introduction Mabel Cheung Yuen-ting and the Women of Hong Kong's Second Wave Despite the fact that Mabel Cheung Yuen-ting is the first woman director to be recognized in this series, she and her peers have had a significant impact on the Hong Kong film industry. Scholars who have noted that the 1980s was a golden decade for Hong Kong film, also remind us that women's cultural production in Hong Kong accelerated in the last two decades of the 20th century. Directors such as Cheung rode a wave of increased profile and popularity.l One of three women to achieve acclaim in the New Wave/Second Wave cohort - along with Ann Hui and Clara Law - Mabel Chueng Yuen-ting's work speaks to multiple preoccupations in diaspora, while making a woman's sto月T - through the character of Jenny (played by Cherie Chung) 一 the central focus. An Autumn 台 Taleis a piece of women's history (in terms of both its content and its production) and it is also an important example of how the Hong Kong film industry (particularly in the 1980s and 1990s) chronicled the diversity of women' s experiences, changes in ideas about gender identities, class cleavages, and transpacific migration at centu叮 's MABEL CHEUNG YUEN-TING'S AN AUTUMN'S TALE end. The film complements and is in conversation with other Hong Kong films about women in diaspora made during the same period such as Allen Fong's Just Like Weather(1986), Stanley Kwan's Full Moon in λTew York (1987), Ann Hui's Song of 的eExz告 (1 98n Clara Law's Farewell 仿ina (1990) andA Floating L妒 (1996)， and Evans Chan's Crossings (1994). Cheung, Hui, and Law do more than tell women's stories. They all make films that address multiple issues and historical shifts in gender, ethnic, and cultural identities. In some respects, several of their films could be considered a transnational extension of an Asian American cultural studies tradition; a late-20th century accompaniment to the 19th century “bachelor society" narratives of men who left Hong Kong and China to work and live in the United States during the Gold Rush period. Hong Kong's 1980s and 1990s cinematic migration melodramas likeAnAutumns Tale also merit closer analysis for the counter narrative their representations offer in a particular historical moment. Recently, increased interest in Chinese women's autobiographical texts (particularly stories of women from the Chinese mainland during and after the Cultural Revolution) has extended a long-standing western proclivity to view Chinese women everγwhere as tragic victims. Films like An Autumn 台 Tale offer a different perspective on the story of women coming of age. They are, arguably, cultural history texts that show women exercising a signi日 cant amount of agency through mobili妙， education, and acculturation to various environments. Gender and cultural identity are important, but by no means the defining factors in shaping women's lives. Because this is the first study of a female director in the Hong Kong New Wave Cinema series, it is important to take a brief step back in order to assess the status of women in the Hong Kong film industry. How di伍cult is it for women to succeed? Cheung declares she feels “lucky to be a female director in Hong Kong" because,“m all of Asia, Hong Kong is the place which has the least prejudice INTRODUCTION against women." All that really matters, she notes, is whether a director can bring a film in on time and under budget. 2 Actor and director Tsui Hark proudly declares that the presence of strong women behind and in front of the camera is one thing that makes Hong Kongdi旺'e rent from Hollywood. “In Hong Kong, we are never ‘threatened' by the females in our films and there is no bias 旭in choosing which gender is doing the interesting things in the storηy入口 Yet while she stands fir口rmly behind the declaration 由tha仗tbeing a woman is not a liability for a director, Cheung is pleased that several recent changes have taken place, particularly in terms of women in front of the camera. She is, she says, happy that “the depiction of women in Hong Kong movies has evolved from mere decoration for the set to characters with independent thinking. 叫 Keep in mind, however, that despite the confident declarations of an increasingly level playing field, women are still significantly outnumbered in the industry and Cheung was one of only a select few women directors when An Autumn 台 Tale was released in 1987. Public utterances to the contrary, Cheung and other women in the industry have had to make their way in a particularly male-dominated space. Cheung's background and education prepared her well for the type of border crossing that takes place in her films. Following her graduation from the University of Hong Kong, she studied drama and writing at the University of Bristol. She worked as a producer at Radio/Television Hong Kong (RTHK) between 1978 and 1980 before going to NewYork Univer世ty where she studied filmmaking 企om 1980 to 1983.5 This broad exposure to overseas film industries lS 句7p ical of a cadre of Hong Kong filmmakers. Many spent a portion of their early careers working in television in Hong Kong as well as studying at film schools in the United States and/or in Britain. Several continue to move between Hong Kong and other large cities throughout the world. Labeled the “Second Wave," because they came after Hong Kong's New Wave directors, members of this cohort include Cheung, Law, Eddie Fong, Clara Law, Lawrence Ah MABEL CHEUNG YUEN-TING'S AN AUTUMN'S TALE Mon, Stanley Kwan, Jacob Cheung, Evans Chan, Ching Siu-ting, and W ong Kar-waL Many of these directors are known for “innovative artistic styles but also their new perspectives in approaching history and gender/ sexuality issues."6 ，月V"hile speaking of Stanley Kwan's films, Cui Shuqin's insight is applicable to Cheung and other Second-Wave directors. Cui notes that the “orientation of Kwan's cinema towards the feminine and its place in a moment of historical transition calls attention to the relatedness of Hong Kong, gender, and history." As such, his films “situate women as intrinsic to the development of new postmodern modes of speaking and writing."7 Like Kwan, all of these directors feature strong, complex women in their films and they offer intricate plots, nuanced characterizations, and settings dealing with sexuality, gender bending, and the tension between cultural expectations and personal desires. Cheung and her Second Wave peers stepped into the spotlight at a propitious time. As Law Kar and Frank Ben have written,“the years between 1983 and 1993 were, in fact, a glorious golden period with unprecedented achievement in quality, quanti守， and market success."8 Although there are a number of possible reasons for this creative burst of energy, Hong Kong's return to Chinese sovereignty provided one source of inspiration. Cheung and her second-wave peers belong to a generation that lived through the late-colonial era and the transition to Chinese sovereignty. Many Hong Kong film scholars have noted the importance of the period between the signing of the Sino-British Joint Declaration in 1984 and the transition to PRC control in 1997. Stephen Teo asserts that "the second half of the 80s was possibly the most interesting period of Hong Kong cinema," partly because of the preoccupation with 1997.9 Teo argues that Second Wave directors are di旺'erent from their N ew Wave predecessors in that their stance towards 1997 is more introspective and less cynical.lO This is certainly the case with An INTRODUCTION Autumn 云 Tale which shines an almost fairy-tale-like light on relations between various sub-ethnic Chinese populations in New York, and suggests no hint of anxiety about the pending transition to PRC sovereignty in Hong Kong.
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